Her captivating stage presence as a singer won Shoma Banerjee, the TVS Saregama reality show bringing in cherished accolades. Her journey as a music composer has been fulfilling in every manner. With over 300 songs rendered by top industry singers Shoma is one of the few female singer composers active in the Indian music industry.
In a long chat with Khanak, she dwells into her remarkable journey as a music composer and entrepreneur and the future of women in music.
Que: How did your interest in music composition take off. Was there a particular point of realization?
Ans: I had seen my Guruji compose in front of me but it was hardly a focused activity for me. The kind of thoughts, the poetry influencing the song, hardly caught my attention. I was keener on singing. Over time I realized that even as a singer I had to understand the nuances of the composition to offer the best I could. Being a big fan of Asha Bhosle and O.P.Nayyar since childhood, on meeting Nayyar Sahab to sing two of his ghazals, I realized that Asha ji had imbibed the essence of his singing, especially the nuances. I also felt the urge to compose and followed it with passion. I can say that my becoming a composer was an organic development.
Que: Who are the singers you have recorded with as a composer?
Ans: Initially, I approached Suresh Wadkar with a Raman Stuti. I then went on to record with Alka Yagnik, Kumar Sanu, and Sadhna Sargam and other leading names including Anup Jalota, Chandan Das, Shekhar Sen. I have recorded over 200 compositions. As I gained in confidence I started enjoying and exploring.
Que: How do you approach the use of Raag as a composer?
Ans: The moment I see poetry these days I think of what tune I can set it to. I realized the value of Raag Sangeet in composing that I learnt as a syllabus in my melodies. The importance of Raagas cannot be overstated as it is helping me hone my skills and offering me the opportunity to experiment liberally. There may be naturally blessed composers who may not depend on classical Raagas but I firmly believe that with the knowledge of classical music your work as music composer can only get better. You can choose the cluster of notes befitting the poetry and work with confidence. The poetry guides you throughout the composition. Some melodies may come from an inspired source but when you sit down to compose seriously I can vouch for the importance of classical music
Que: How has your being a singer embellished your work as a composer?
Ans: Being a singer myself, I am easily able to demonstrate the song to the singer. The Murkis, the Khatkas, the Gamakas add grace to the core melody. I have to say that most of the singers I record with are accomplished and understand what is in my mind as a composer. In rare cases, it can happen that as a singer-composer you may impose your style of singing on the singer. But yes being a singer is better than being a non-singer composer.
Que: Do you compose with the words first or get a hook line and work on it?
Ans: I do not consider myself as a great composer but my style of composing is about imbibing the poetry and getting into the mood of the composition. Taking off as a singer I did not give much importance to poetry …which I have learnt to. There were great poets whose command on poetry inspired beautiful music compositions. Composers certainly should have the right knowledge of the E ki matras and the U ki matras. I think it is important that you should write in Hindi or the language you are singing in and not only in English. Only when you write the language can you understand the weightage and punctuation for effective rendering of the song
Que: Do you let the singer improvise on your composition or insist on retaining your creation?
Ans: I do give a chance for the singer to improvise but insist that the core has to be retained. There are singers who come and try to improvise from the first note which can be annoying. I have heard stories of senior music composers composer like Khayyam Saab who were insistent on their creation in its purest form. No changes were allowed. I have also worked with A.R. Rahman sir who gives total freedom to the singer, insists on improvising, and appreciates it. I basically comprehend that we are in a way the culmination of these composers. I personally think it is important that the singer should learn the composition thoroughly and then move towards improvisation for better results. Having learnt music and as a singer I’ve all the improvisations in my mind for the singer.
Que: How many acoustic instruments as against digital do you use in your compositions?
Ans: While recording a bhajan I definitely need a flute and a tabla. These are the basic instruments and evoke the right kind of emotions. Ideally, I’d prefer all live instruments but the need of the hour is to save on the budget which is why there is liberal use of sound cards and digital sounds which in some cases is as good as the live sound. I also love the Sitar and violin, and try to use them as much as I can in my composition. For one particular song I needed the Esraj and sent the audio file to the artist in Calcutta to record on the track as Rabindra Sangeet you’d be aware will not compromise between a Sarangi and Esraj. There is a warmth in acoustic instruments which is lacking in the digital instruments. But yes given the current scenario there is an undeniable emphasis on techno sound.
Que: How was your experience recording with the senior singers and stalwarts from the industry
Ans: Anuradha Paudwal has an aura which is undeniable…a big singers prominent aura and I love it. It is not an ego but an aura. Even today her voice inspires the composer. She was very happy with my compositions and appreciated them. It is a badge of honor I like to wear. It helped me get rid of this phobia that each of my compositions is an extension of the earlier ones. Anup ji also acknowledged my work. Sadhna Ji, Aarti Mukherjee also complimented and valued my work. I must say that god has been kind and I really cherish this appreciation I have gathered for my work.
Que: What do you think is the chief difference between a playback singer and other performers?
Ans: There is a lot of difference between the two. A playback singer, as a person, is more gathered. They are inclined to bringing out the allure of the song because what they are doing is getting documented as their work and so are more responsible. The stage performer is a happy go lucky kind of person. Here I am talking of the regular Bollywood singers on stage and not the Ghazal or classical music performer. The playback singer comes with his pen and diary, writes the song, learns it properly, marks the places to take a special note in the composition etc. It is different also because the playback singer is singing mainly for the composer while the stage performer is doing it for the gallery.
Que: What method do you use in helping your singer understand your composition ?
Ans: I play the harmonium and sing my composition for the singer. An alternate scenario is where I record the song on the cue-track in my voice. In that case the singer listens to the song repeatedly and absorbs the melody in its entirety. My preference, though, is when I play the harmonium and sing it to them. Anup ji learns it through the harmonium as he himself plays it.
Que: As a composer what is your take on the inevitable presence of AI in the music business?
Ans: Majority of music composers believe and fear that AI is diluting and taking over the music scenario. I do not think that is the right picture and have no fear about it. As far as the use of AI goes I’m a bit old school and not too keen on using AI in making a song. If there’s an urgent requirement to compose and deliver a song in 30 minutes or so I might resort to using AI but given the right amount of time to work on a situation, I’d prefer composing on my own and using real arrangers for the recording.
Que: As an entrepreneur in the music industry what are the kind of activities you are involved in?
Ans: I was preparing for my pre medical test as a student and was able to somehow convince my parents that I wanted to take up music. I am also a Public Relation and Advertising graduate and have always thought that I will not just be a singer but also offer work to people. The spirit of entrepreneurship was always in my mind. Entrepreneurship requires deep pockets. Presently, I’ve started a Club and want to take it to a point where those interested can come and discuss music, jam and indulge in refreshments. It is called the Mumbai Music Circle. Many such music lovers who are often good singers but could not take up music as a career are part of this circle. Typically, in the age group of 55 to 60, these are the ones who are looking at an opportunity to express themselves now that they are free of the responsibility of educating their children. The club offers them this space and opportunity. I have some good people on the platform and am very active on that front. I’d like to do All-India music summits and devotional music summits. My fingers are crossed and I’ll definitely be able to do it someday soon
Que: How do you see the contribution of women in the music industry as performers and entrepreneurs?
Ans: The socio-cultural scenario in India for women asks for prioritizing the house and children. The time left after that can be allotted to our other pursuits like music. Few women therefore take the step and rule out the social stigma associated with becoming a musician. As a profession music takes up your whole day without which it’d be impossible to take it up as a profession. Women, I believe, are faster in grasping, more focused, and more creative than men. This continues to be a man’s world. Music at the grassroot level hardly offers financial security. Money flows in only when once you are recognized and known in the industry. It is difficult for a woman to give up a job and take up music full time. Even to draw an hour from the days schedule for music is difficult for a woman. I think our social outlook has to change for the scenario to be more encouraging for women music artists and entrepreneurs.
Vibhav Narasimha Rao